Most of the piece was carefully engineered; it seemed more calculated than liberated
Marcia B. Siegel
Boston Ballet’s reconstructed versions of Yakobson’s Pas de Quatre and four Choreographic Miniatures were a revelation.
A fascinating documentary in which you get both a Paul Taylor dance and the making of the dance.
Neither dancers nor the dance audience are out on the barricades demanding more and better dance coverage.
Perhaps there’s no way to reproduce the subtlety of this work in the theater today. Our stages are so materialistic, so technological.
Zoë Anderson’s volume aims to give readers a handy way to discern the most influential ballets from among the confusing proliferation that we find in today’s repertory.
Jacob’s Pillow’s revamped archive is a sort of museum as well as a library. A catalogue of the holdings is in the works. .
Pam Tanowitz’s performance seemed to be as much about the connections among artists and their ideas as about the unanticipated gaps between them.
Contemporary dance has no useful definition; maybe we could think of it as an attitude, a constantly changing venture.
Two 20th century gems bracketed the evening, and all four works showed how the ballet idiom can serve and be served by classical music.